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  • 學位論文

探討互動科技展示模式中策展人與觀眾的設計溝通-以行動@夢想館為例

Investigation on the Communication and Interaction of Design Thinking between Curators and Audiences: A Case Study of the Interactive Exhibition of Action @ Pavilion of Dreams

指導教授 : 曹筱玥
共同指導教授 : 吳可久(Ko-Chiu Wu)

摘要


近年來,由於互動科技的蓬勃發展以及網際網路的盛行,數位內容策展 (Digital Content Curation)的需求亦隨之興起,其策展概念使得傳統博物館從原先「使用者的被動參觀」延展成「共同參與及創造」,不僅改變了觀眾行為與參觀形態,更提升了觀眾主知主義的展示思考。從科技為中心到現在以觀眾為中心,把情境、脈絡以及觀眾參與融入科技展示設計中,形成了人與展品、展場的互動,而產生觀眾對展品的全新視界以及興趣,進而達到人與互動展品的情感交流。   本研究從觀眾的角度出發,深入瞭解觀眾的視界與感受,進而探討策展人運用科技詮釋手法與文化的歷史脈絡結合的設計思維。其中,策展人的認知與預想狀態、觀眾的接受程度與個人詮釋,以及策展人與觀眾之間的設計溝通關係,都是目前所無法掌握且達成平衡的三方關係。   因此,本研究以數位內容策展概念為研究核心,以姚斯的接受美學為理論基礎,運用質性研究與分析探究數位內容策展人、互動展品與觀眾之間的設計溝通和三者的相對關係。為策展人與觀眾兩者之間的設計溝通關係建構核心論點,藉由論證觀點,促進互動科技展示產業的發展,以提供較完善行銷策略與發展方向,加速互動科技展示產業的市場發展,提供互動展示策展人以及展品作者於設計過程的基本方針。

並列摘要


With the rapid development of interactive technology and the growing popularity of social networking in recent years, digital content curating has become an emerging profession. The advance of digital interactive display technology has greatly influenced exhibitions in conventional museums, such that audiences are encouraged to engage actively in accessing information rather than passively accepting information. This trend has not only changed the behavior patterns of museum visitors but also promoted the concept of intellectualism for curators. Design thinking for exhibit design has thus changed from being technology centered to audience centered. It engages audience participation in the context of the exhibition, thereby creating an interaction between audience, artworks, and environment as an effort to enhance the audiences’ conceptual understanding and perceptual appreciation of an interactive exhibition.   However, the gap between the assumption and expectation of the curator and the response and personal interpretation of the audience often presents a challenge to design thinking in terms of connecting the curator and audience. This study attempts to address this issue based on the audience perspective from both the visual and affectional aspects.   This work adopted the theoretical framework of Hans-Robert Jauss’ reception aesthetics, and then used a qualitative approach to explore the interrelationship of design thinking among the digital content curator, interactive exhibition, and audience. The objective is to establish the reciprocal relation among the curator, interactive artworks, and audience, and then propose guidelines to assist the design of interactive digital content that can further advance the development of interactive exhibition as well as promote improved marketing.

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